Abraham Storck: Difference between revisions
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Storck initially worked in the family workshop. Later he set up his own workshop in Amsterdam producing naval and harbor scenes as well as landscape paintings. He traveled and worked in Germany.<ref name=rkd/> |
Storck initially worked in the family workshop. Later he set up his own workshop in Amsterdam producing naval and harbor scenes as well as landscape paintings. He traveled and worked in Germany.<ref name=rkd/> |
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In 1694 he married Neeltje Pieters van Meyservelt.<ref name=mar/> |
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==Work== |
==Work== |
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Storck' marine and river scenes were influenced by the two Willem van de Veldes ([[Willem Van de Velde, the elder|the elder]] and [[Willem van de Velde the younger|the younger]]), Ludolf Bakhuizen and by [[Jan Abrahamsz Beerstraaten]].<ref name=mar>Margarita Russell. "Storck (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 5 Jan. 2016</ref> |
Storck's marine and river scenes were influenced by the two Willem van de Veldes ([[Willem Van de Velde, the elder|the elder]] and [[Willem van de Velde the younger|the younger]]), Ludolf Bakhuizen and by [[Jan Abrahamsz Beerstraaten]].<ref name=mar>Margarita Russell. "Storck (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 5 Jan. 2016</ref> |
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| ⚫ | Storck produced fantastical views of Mediterranean ports, which place merchant shipping amidst architectural ruins, depicted in the crystal-clear colours of Italian art of the period. This type of scene anticipated the popular 18th-century Italian capriccio. He probably never went to Italy himself. He depicted ships' rigging and technical details with considerable accuracy and his Dutch harbour and river views often include recreational and ceremonial aspects of shipping. He paid particular attention to the display of pleasure yachts and ceremonial gatherings of ships.<ref name=rgm/> |
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Storck painted some winter scenes, which are inspired by the example of Jan Abramsz Beerstraten and his brother Anthonie. The van de Veldes, father and son, may have inspired Storck’s accuracy in the rendering of ships’ rigging and technical details, which is admired by ship historians. A few paintings are devoted to the activities of the Dutch whaling fleets in northern waters (e.g. Rotterdam, Mar. Mus.; Amsterdam, Rijksmus., A 4102), but his most attractive and popular paintings are the views of harbour cities and river scenes. Most of these topographical views are of Dutch subjects, but some feature German cities and scenery along the Rhine, suggesting that the artist must have travelled to Germany. The Dutch harbour and river views often depict the recreational and ceremonial aspects of shipping, with an emphasis on colourful pleasure yachts occupied by passengers in festive dress (e.g. Shipping on the IJ at Amsterdam, London, N. Mar. Mus.). The most famous of the marine festivities depicted by Storck is the Mock Battle Staged for Peter the Great on the River IJ (Amsterdam, Ned. Hist. Scheepvaartsmus.), which commemorates the spectacle arranged in honour of the visit of the Tsar to Holland in 1697. Like other popular works by Storck, such pictures of ceremonial gatherings of ships, known as marine ‘parades’, were repeated in several versions. |
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Storck’s reputation during his life and thereafter has suffered from the ppularity of his compositions, which were often reprised by his large workshop. This led to the uneven quality of paintings attributed to Storck. |
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Storck was an outstanding draughtsman.<ref name=mar/> |
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| ⚫ | Storck produced fantastical views of Mediterranean ports, which place merchant shipping amidst architectural ruins, depicted in the crystal-clear colours of Italian art of the period. This type of scene anticipated the popular 18th-century Italian capriccio. He probably never went to Italy himself. He depicted ships' rigging and technical details with considerable accuracy and his Dutch harbour and river views often include recreational and ceremonial aspects of shipping. |
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==Notes== |
==Notes== |
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{{Reflist}} |
{{Reflist}} |
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Revision as of 20:16, 7 January 2016
Abraham Storck (or Sturckenburch) (bapt. 17 April 1644 in Amsterdm – buried 8 April 1708), was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes.[1]
Life
Storck was born and died in Amsterdam.[2] His father was the painter Jan Jansz. Sturck, who later changed his name to Sturckenburch. Sturck's three sons, who were all painters used the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. Abraham trained with his father and joined the local Guild of Saint Luke.[2]
Storck initially worked in the family workshop. Later he set up his own workshop in Amsterdam producing naval and harbor scenes as well as landscape paintings. He traveled and worked in Germany.[1]
In 1694 he married Neeltje Pieters van Meyservelt.[3]
Work
Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen and by Jan Abrahamsz Beerstraaten.[3]
Storck produced fantastical views of Mediterranean ports, which place merchant shipping amidst architectural ruins, depicted in the crystal-clear colours of Italian art of the period. This type of scene anticipated the popular 18th-century Italian capriccio. He probably never went to Italy himself. He depicted ships' rigging and technical details with considerable accuracy and his Dutch harbour and river views often include recreational and ceremonial aspects of shipping. He paid particular attention to the display of pleasure yachts and ceremonial gatherings of ships.[2]
Storck painted some winter scenes, which are inspired by the example of Jan Abramsz Beerstraten and his brother Anthonie. The van de Veldes, father and son, may have inspired Storck’s accuracy in the rendering of ships’ rigging and technical details, which is admired by ship historians. A few paintings are devoted to the activities of the Dutch whaling fleets in northern waters (e.g. Rotterdam, Mar. Mus.; Amsterdam, Rijksmus., A 4102), but his most attractive and popular paintings are the views of harbour cities and river scenes. Most of these topographical views are of Dutch subjects, but some feature German cities and scenery along the Rhine, suggesting that the artist must have travelled to Germany. The Dutch harbour and river views often depict the recreational and ceremonial aspects of shipping, with an emphasis on colourful pleasure yachts occupied by passengers in festive dress (e.g. Shipping on the IJ at Amsterdam, London, N. Mar. Mus.). The most famous of the marine festivities depicted by Storck is the Mock Battle Staged for Peter the Great on the River IJ (Amsterdam, Ned. Hist. Scheepvaartsmus.), which commemorates the spectacle arranged in honour of the visit of the Tsar to Holland in 1697. Like other popular works by Storck, such pictures of ceremonial gatherings of ships, known as marine ‘parades’, were repeated in several versions.
Storck’s reputation during his life and thereafter has suffered from the ppularity of his compositions, which were often reprised by his large workshop. This led to the uneven quality of paintings attributed to Storck.
Storck was an outstanding draughtsman.[3]
Notes
- ^ a b Abraham Storck at the Netherlands Institute for Art History Template:Link language
- ^ a b c Biography of A. Storck, National Maritime Museum Greenwich
- ^ a b c Margarita Russell. "Storck (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 5 Jan. 2016
External links
Media related to Abraham Storck at Wikimedia Commons
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